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Chet Atkins plays the Beatles


uncle fester
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5 hours ago, drathbun said:

Awesome guitarist extraordinaire though he was, Chet was ever so much more than just a guitar player. He had a huge influence on the music business as a music producer and co-inventor of the "Nashville Sound".

 

Yep. He sucked the "Country" right out of Country Music for many years.

A great picker but he cared more about money than he did  the music that made him wealthy.

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8 hours ago, Murph said:

 

Yep. He sucked the "Country" right out of Country Music for many years.

A great picker but he cared more about money than he did  the music that made him wealthy.

yeah right,  you suck the life out of threads

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21 hours ago, kidblast said:

FWIW, until Murph's reply,...

I've

never heard... a disparaging word....

about Chet.......

 

It's well known he wasn't loved in Nashville by many artist. He had a powerful grip on production and it was his "Nashville Sound" that Waylon, Willie and many, many others had to claw and scratch to get out from under because the labels had a system.

He was indeed a great guitar player, but when asked what Country Music sounded like he once reached in his pocket and rattled the change and said "It sounds like money".

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Chet’s one of my all time favorites. 
I’ve had 6 different models of his signature guitars, probably 40 CD’s and more than a few of his instructional book. A few years back there was a special tribute concert for him and Willie performed playing a CE model Chet gave him  Waylon is off to the side  out of sight

Chet and willie

 

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8 hours ago, Murph said:

He was indeed a great guitar player, but when asked what Country Music sounded like he once reached in his pocket and rattled the change and said "It sounds like money".

I think you're mistaking his very dry wit for greed.  When someone once told him "That's a great sounding guitar," he set it down and said, "How does it sound now?"  In many interviews & recorded conversations I've heard, he liked to banter a bit with others & would throw out comments such as the one referenced.

As for the Nashville Sound thing, yes, he was focused on a formula that he thought would broaden the appeal of country music, which most likely was an ongoing mission at the time with RCA, who hired him.   In my mind, Nashville has always been a pathetic money-grubbing operation, with locked doors at every turn.  Atkins came to town as the Carter's guitarist & at their insistence, after Nashville tried to block him out because of his different sound & virtuosity.  Bottom line, he was just trying to find his way through the morass like everyone else.  Yes, he succeeded wildly, and had musically strong opinions.  But it was more than just Chet holding up the Outlaw-foo-foo, it was the overall structure of Nashville and it's studios.  Willie & Waylon tried like heck to break through there with the "right" look & sound.  If they had, they would have been drinking at the trough & dancing to the bank like everyone else.  Fortunately for the greater good, they found success elsewhere.

As for Atkins overall, I judge him by his music, the company he musically kept, those who thrived musically by playing with him, and the fact that he helped resurrect the career of someone like this guy named Les Paul.  He didn't have to do that & certainly didn't need the money by then, but he did it because he wanted to.  Give a listen sometime to 1974s "The Atkins-Travis Traveling Show" with Merle Travis for a quick history lesson and some beautiful music that captures the essence of a long & winding road. 

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On 10/25/2019 at 3:38 PM, bobouz said:

I think you're mistaking his very dry wit for greed.  When someone once told him "That's a great sounding guitar," he set it down and said, "How does it sound now?"  In many interviews & recorded conversations I've heard, he liked to banter a bit with others & would throw out comments such as the one referenced.

As for the Nashville Sound thing, yes, he was focused on a formula that he thought would broaden the appeal of country music, which most likely was an ongoing mission at the time with RCA, who hired him.   In my mind, Nashville has always been a pathetic money-grubbing operation, with locked doors at every turn.  Atkins came to town as the Carter's guitarist & at their insistence, after Nashville tried to block him out because of his different sound & virtuosity.  Bottom line, he was just trying to find his way through the morass like everyone else.  Yes, he succeeded wildly, and had musically strong opinions.  But it was more than just Chet holding up the Outlaw-foo-foo, it was the overall structure of Nashville and it's studios.  Willie & Waylon tried like heck to break through there with the "right" look & sound.  If they had, they would have been drinking at the trough & dancing to the bank like everyone else.  Fortunately for the greater good, they found success elsewhere.

As for Atkins overall, I judge him by his music, the company he musically kept, those who thrived musically by playing with him, and the fact that he helped resurrect the career of someone like this guy named Les Paul.  He didn't have to do that & certainly didn't need the money by then, but he did it because he wanted to.  Give a listen sometime to 1974s "The Atkins-Travis Traveling Show" with Merle Travis for a quick history lesson and some beautiful music that captures the essence of a long & winding road. 

There’s also a lot of documention and testimonials of Chet helping tons and tons of musicians behind the scenes on a personal level.  And, from what I’ve read, although Waylon at times down-rapped Chet, Chet and him remained friends through out, and it might have even been Chet who gave Waylon his break in Nashville and RCA.  And, who stood by him as a major defender.  The best story I read about Waylon and Chet was that after Waylon had successfully spread his wings to do his thing, record where he wanted to record, with a producer of his choice, he then chose to go try to go back to record at RCA’s studio A or B where he previously had recorded and liked a lot.   So he went to Chet at RCA and told him that, only to find Chet telling him that it was now gone, a victim of it having become no longer financially viable for RCA to maintain because of Waylon’s very efforts to free Nashville musicians signed to RCA to now have the ability to choose the recording studio of their choice.   And, Waylon expressing he was not exactly pleased that his efforts to free musicians took away not only a historic RCA recording studio, but also one he liked a lot.

Those of us old enough to remember when Chet himself finally freed himself from RCA Nashville management, and who were watching, remember how Chet went through a major renaissance and return to live concert performing...and, being fully embraced by his Nashville, Austin, and pop music peer musicians.  And, he lives on through his music and personal stories Tommy Emmanuel and other great pickers (including Doyle Dykes) often relay.  (And, all of us too who incorporate his licks in our own guitar playing.)

QM aka “Jazzman” Jeff

 

 

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